A Companion to the Horror Film by Harry M. Benshoff

By Harry M. Benshoff

This state-of-the-art assortment positive factors unique essays through eminent students on one among cinema's such a lot dynamic and enduringly well known genres, protecting every little thing from the background of horror videos to the newest severe approaches.
Contributors comprise some of the most interesting teachers operating within the box, in addition to fascinating more youthful scholars
Varied and complete assurance, from the historical past of horror to broader problems with censorship, gender, and sexuality
Covers either English-language and non-English horror movie traditions
Key issues contain horror movie aesthetics, theoretical techniques, distribution, paintings residence cinema, ethnographic surrealism, and horror's relation to documentary movie practice
A thorough therapy of this dynamic movie style suited for students and fans alike

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It was also in Malmö that he solidified his group of actors, welded together by a director who far outpaced the head of the theatre that had hired him, Lars Levi Læstadius. Many of the names to be associated with Bergman’s filmmaking in the mid-Fifties – Max von Sydow, Ingrid Thulin, Bibi Andersson, Harriet Andersson, Åke Fridell – were actors at the Malmö City Theatre under his tutelage. Bergman’s Malmö period coincides with his major breakthrough as a filmmaker. In Sweden he now gained a reputation as a maker of women’s films; besides Sommarlek and Sommaren med Monika he wrote and directed Kvinnors väntan (1952, Secrets of Women/Waiting Women), En lektion i kärlek (1954, A Lesson in Love), Kvinnodröm (1955, Dreams) and Sommarnattens leende (1955, Smiles of a Summer Night).

It included several productions at a newly founded professional stage, the Dramatists Studio, whose prime mover, an eccentric woman by the name of Brita von Horn, recognized Bergman’s talents. Then, at age 26, he was offered the post as head of the City Theatre in Hälsingborg in southern Sweden. Else Fisher was now pregnant with daughter Lena but also ill with TB and staying in a sanatorium. Within a year after Bergman’s assumption of his new post, the marriage was dissolved. Soon thereafter he married choreographer Ellen Lundström, whom he had met in Hälsingborg.

He was back at Dramaten, in the ‘Father House’ and for the next 20 years would stage, on an average, one play per year. Apart from Shakespeare dramas like Hamlet and The Winter’s Tale he returned to such old favorites as Molière (The Misanthrope), Ibsen (A Doll’s House and Ghosts), and Strindberg (Miss Julie, A Dreamplay, and The Ghost Sonata). A number of his Dramaten productions from this time went on an international circuit tour, providing opportunities for non-Swedish audiences to become familiar with Bergman’s stagecraft.

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